Friday Music

Wow. Friday already.

Sophia Coppola’s Marie Antionette with Kirsten Dunst was released at the end of October. I haven’t seen it, but I did pick up the two-disc soundtrack, which is chock full of New Wave goodness. The juxtaposition of 18th-century France and 1980s music works really, really well — for example, listen to how the album begins: Siouxsie & The Banshees – “Hong Kong Garden.”

One of the coolest things to come out of Japan in a long while is Shibua-Kei music. Literally “Shibuya style” and named for the trendy Tokyo shopping district, Shibuya-Kei is a sort of lounge electronica, mixing digital production with a burt-bacharach-esque groove and a laid-back hipster vibe. Artists famous for this style include Pizzicato Five and Hi-Posi, among others. I recently picked up a couple of Shibuya-Kei collections (“Sushi 3003” and “Sushi 4004”). Here’s the lead track from the first: SP1200 Productions – “My Super Lover.”

In France, meanwhile, they’re producing some great stuff as well. This is an absolutely brilliant French pop song from Emma Daumas. The title of the song means “elsewhere.” Emma Daumas – “Ailleurs.”

We’ll continue with the international tour, with an Icelanding group that produces what they call “crunk electro house” — a mix of the techno-glitter of dance music with the down-and-dirty “crunk” scene. It is, oddly enough, two great tastes that taste great together. This is a nasty grinding monster of a song, and I love it (although be warned that the lyrics are not safe for work): Steed Lord – “Dirty Mutha.”

Back in the early-to-mid 90s, there were a lot of collaborations between alternative and hip-hop artists, as they realized, in the words of Ice-T, you could “put all the pissed-off white kids and the pissed-off black kids in the same room, and they’d realize they were pissed off at the same shit.” This is one of my favorites from that period. Hip-hop act Onyx tried to introduce the mosh pit to hip-hop, and worked with Biohazard on this remix: Onyx and Biohazard – “Slam.”

I used to be a HUGE fan of U2…and in fact, their first 4 albums (“Boy”, “October”, “War” and “The Unforgettable Fire”) are among my most favorite albums of all time….but then they went all Arena-rock Massive on me. I still enjoy them, but I’m much more a fan of hungry-garage-band-new-wave U2 than I am of international-super-group U2. That said, they’ve got a new best-of collection coming out (yes, again), which features a new single, which is pretty nifty. Very much in the “Beautiful Day” sweeping anthem mode….which means, ironically, that they sound like they’re trying to emulate Coldplay, a band which more often then not emulates U2 themselves. U2 – “Window In The Skies.”

Lastly, here’s a really nice bit of uptempo electronica. I don’t know much about the group — the track comes from a collection of artists from the indie electronic label, Moodgadget. The Hexx – “Revista Moda.”

There you go, kids. Enjoy.

Top Ten Film Scores

Related to the death of Basil Poledouris (see my earlier post), a friend of mine () posted the following:

“This got me to thinking about my favorite film scores, some of the best music being composed is for films these days. So I am curious as to what your favorites are.”

This is the sort of meme I like much more than the usual “validate me by telling me that you really, really like me” thing, so, without further ado:

Gareth’s Top Ten Favorite Film Scores:
(In no particular order, ‘cuz it depends on my mood)

1. Young Sherlock Holmes by Bruce Broughton

2. Bram Stoker’s Dracula by Wojciech Kilar

3. Conan The Barbarian by Basil Poledouris

4. The Black Hole by John Barry

5. The Lord of the Rings by Howard Shore

6. The Rocketeer by James Horner

7. Star Trek II: The Wrath of Kahn by James Horner

8. You Only Live Twice by John Barry

9. The Crow by Graeme Revell

10. Blade Runner by Vangelis (I don’t mean the crappy “New American Orchestra” version, either — I’m lucky enough to have a 2-disc bootleg of the actual Vangelis score)

There are tons more: I’m a film score nut. I own many, many scores where I like a handful of the compositions, but not enough for the entire album to make that list (Wolfgang Korngold’s swashbuckler films from the 30s and 40s, various blaxploitation action scores of the 70s, Thomas Dolby’s score for Gothic, Toto and Brian Eno’s score for Dune, just to name a very few….).

You’ll also notice that the usual suspects (Star Wars, Indiana Jones, Superman) by John Williams aren’t there….and it’s not that I don’t like them. It’s just that I find that Williams does anthems and particular cues very well (the main title from Star Wars or Raiders, for example or “The Planet Krypton” from Superman) but the incidental stuff is just….meh.

Sock Rocking

I won’t be doing the Sock Rocking meme, folks — If you don’t already know why I think that you’re the bee’s knees, then I’m doing a fairly piss-poor job as a friend, neh?